PART ONE: In example one, a study of two progressions operate using both linear and fixed upper chord tones over the same harmony. The first progression (example 1a), applies the chord tones ascending along the second string through seventh chords of, Dmaj7, Bm7, Em7 and A7. The second example, (example 2b), maintains a fixed position upper chord tone at the second string's 5th at 7th frets. Chord types have been extended out from the 7th to include; 9th, 11th and 13th.

Example two is another study of two progressions that operate to show how a typical seventh chord jazz progression can be expanded upon to use both extended and altered chord types. In example 2a, the progression is based upon using standard seventh chords of; "Dm7, A7, Bb7, B7 and Cmaj7." Example 2b expands upon that sound with an enhanced harmony that include the augmented and diminished 5th (altered chords), along with 9th and 11th extensions.

PART TWO: In the second half of the lesson, we begin in example three by working on a popular trick in jazz harmony that fools the listener into thinking there are more chords in the harmony than there are. The example three progression uses a combination of chord extensions and chromatic bass note movement to demonstrate the sound of passing chords. The harmony includes seventh chords, minor 11th, and diminished 7th chord types.

In example four, we wrap things up by combining multiple connection techniques. These include seventh chords, the half-diminished, triad over bass-note, and the dominant 7th (b9). The upper chord tone position concept (demonstrated in example one), is also in play using both the fixed and the linear application